Fantasy

Letal

FLASHBACKS

We will never get tired of saying it. There have been key artists throughout history, and they reached this status because of their ability to read the times they live in and deconstruct and process them, regurgitate them and create beauty, reflection, excitement and impact. Each new step that Chenta Tsai takes gives us the feeling of being two kilometers ahead. This is especially admirable in these fast, urgent, lightspeeding times, when it is difficult to settle down and get comfortable because once you do you realize you aren’t keeping up. And now PUTOCHINOMARICÓN is here with an immense, prodigious project, made up of four albums that are a part of a project called “SMHD (Arte Contenido)” (acronym for Seconds Minutes Hours Days).

The project comes from the conflict that currently exists between the definition of content creator and artist, the search for authenticity in a context of cloned identities. That’s where the concept of “Arte Contenido” (Content Art) comes from, which drives these four albums, and which somehow delves into that idea that Chenta is so focused on: What is identity? Is it something static and consistent? Can we have multiple identities? What does the idea of identity itself mean for an artist? Twenty-first century philosophy in the mind of a relentless, prolific, multidisciplinary creator, who not only sees the times we live in, with the accuracy of a surgeon, on a conceptual level, but also on an artistic level, and of course, musically.

Today we bring you “Auphmoy”, a Digital Single that works as an advance of the first of the albums, "Afong (Mordió La Mano Del Amo)", and which is part of the Minutes section within this “Arte Contenido” project. Auphmoy is the name that Afong Moy, the first known female Chinese immigrant to arrive to the United States in 1834, was registered under on the ship that took her to New York. Taken by the Carne brothers from Guangzhou, she was exhibited around the country as “The Chinese Lady”. It is a starting point we can use to reflect how essentialism about identity can lead to a parody of oneself, and the need that artists in the XXI century feel to develop all of their aspects, their facets, their I’s, in search of what will be the most easily digestible for the masses waiting for them on the other side of their screens.

PUTOCHINOMARICÓN opens up a new space for investigation, for discovery, for thinking and feeling. “Auphmoy” is definitely a key reference, a before and after. Huge. Immeasurable. We love and adore all the I’s of Chenta Tsai.

Auphmoy

ántífá káwáíí / nárrátívá

soy un idiota

We’ve finally got it. “pasadas de moda” is the second album from the PUTOCHINOMARICÓN project called “Segundos Minutos Horas Días” – a project that questions the nature, esthetic and consumption of music in an era where everything is fleeting and consumed without reflection. It is a critique of current music consumption, which has moved toward ephemeral interaction on networks and away from genuinely enjoying physical format or streaming platforms. It is an imaginary album by the artist dadá, a product of nepotism, which serves as a vehicle to criticize the artist as a content creator, like a house pet that wants to please instead of challenge. At the same time, it’s an opportunity to review some of the musical movements from the beginning of the century, like blog house, indie sleaze and electroclash, although not as an exercise in nostalgia but instead as a way to update the sound, criticizing the elitism and exclusiveness. This provokes a surprising change in Chenta’s sound, making it more accessible, pure, more spacious, and letting the album show off their more pop spirit, throwing names in the mix like LE TIGRE, TINGS TINGS, FISCHERSPOONER, MISS KITTIN’, TIGA and many more.

This simplification aims to return to the essence of pop: music made for dancing, having fun and feeling absolutely carefree”. Is that why we love “pasadas de moda” so much? Are we trapped in that empty hedonism? Is this album a trick we can’t help fall for? Our heads are spinning. These are the side effects of such intense exposure to PUTCHINOMARICÓN’s universe.

pasadas de moda

la rae (me la trae)

mamá, quiero ser viral

Dennis

Adulter8

q la vida nos de rumba
temita q hice en 2022 .. pronto en plataformas
#quesejodalaestrategia #nadiealvolante #solomusica

Rayao

Sometimes, some groups spread so quickly online and on social networks, and their songs and messages have such an impact that when their first songs are officially released they are already really well known. They’ve already been applauded by the media and stalked by the most unconditional fans. Such is the case with Chenta Tsai Tseng, better known as PUTOCHINOMARICÓN (CHINK FAG). A migrant originally from China, he is an architect, a musician, an activist, and a unique, inimitable character in love with pop culture from recent decades. Interviews in El País, La Sexta, El Confidencial, FantasticPlastic, Radio 3… Concerts where the audience goes crazy and songs that are authentic protest anthems for new generations…

"Corazón De Cerdo Con Ginseng Al Vapor" is his first album: techno-pop, with echoes of synth-pop, J-pop, disco and breakbeat, various brushstrokes of electric and auto-tunes.

“Miseria Humana” is trap, cyborg-pop, bubblegum, hip hop, synth-pop… A new album conceived to reflect the current way of consuming. A critique of the way we consume songs today, the consumer culture and the ephemeral life of all the things that surround us.

mamá, quiero ser viral

PUTOCHINOMARICÓN

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